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UNIVERSE        ^tOSANGElfr>  ^lUBRARY^       ^LIBRARY*: 


IE  YEOMAN    OF   THE  GUARD. 


Sir  J.  E.   Millais,   Bart.,   PR. A. 


A  portrait  of  John  Charles  ^^^^^^^J^S^ 

iGtb  Lancers,  was  in  i$47  appointed  a      Beet  tater.       r<ui 


THE  GREAT  GALLERIES  OF  EUROPE 
THE 

Tate  gallery 

[THE    NATIONAL   GALLERY   OF   BRITISH   ART] 


H.    M.   CALDWELL  CO. 

Publishers 
Boston  New  York 


Uniform  ivith  this   Work 

THE  NATIONAL  GALLERY 
THE  LOUVRE 
THE  LUXEMBOURG 


Stack 
Annex 


THE    TATE   GALLERY 

In  1842  Sir  Francis  Chant  rev,  the  cele- 
brated sculptor,  bequeathed  the  reversion  of 
his  estate  to  the  Royal  Academy  for  the 
purchase  of  works  of  British  art,  in  his  will 
expressing  the  "  confident  expectation " 
that  when  the  collection  became  of  sufficient 
importance  the  government  would  provide 
a  suitable  building.  The  bequest  became 
effective  in  1876  and  the  collection  of  works 
of  British  art  increased  yearly  but  the  gov- 
ernment made  no  sign  of  fulfilling  Chan- 
trey's  expectations.  Some  of  the  pictures 
were  temporarily  hung  in  the  South  Ken- 
sington Museum  and  others  were  sent  on  a 
tour  of  the  Provinces.  In  the  meantime  the 
National  Gallery  became  more  and  more 
over-crowded  but  a  separate  building  for 
British    works    of    art.    found    no    practical 


1546120 


THE  TATE  GALLERY 

favour  m  the  eves  of  the  government.  In 
1890  Mr.  Henry  Tate  (knighted  on  the 
Queen's  birthday,  1898),  a  well-known  sugar 
refiner  of  Liverpool  and  London,  wrote  to 
the  Chancellor  of  the  Exchequer  offering  not 
less  than  fifty-seven  of  his  pictures  by  Brit- 
ish artists  under  the  condition  that  the  col- 
lection should  be  kept  intact  and  placed 
under  a  separate  administration.  On  the 
one  hand  the  government  objected  to  these 
conditions,  and  Tate  objected  to  the  works  of 
art  being  housed  in  the  "  East  and  West 
Galleries  "  of  the  South  Kensington  Mu- 
seum. A  long  newspaper  discussion  ensued, 
when  finally  an  anonymous  correspondent, 
later  proving  to  be  Tate  himself,  offered 
£80,000  to  build  a  gallery  if  the  government 
would  provide  a  suitable  site.  No  agreement 
to  a  site  could  be  reached  and  the  matter 
gradually  seemed  to  die  out.  Two  years 
later  when  a  new  government  came  in  Sir 
William  Harcourt  and  Tate  in  a  half  hour 
conference   decided   on   Millbank,   where   now 


THE  TATE  GALLERY 

stands  the  National  Gallery  of  British  Art, 
but  in  popular  parlance  it  will  probably 
always  be  called  the  Tate  Gallery.  Mr. 
Tate  agreed  to  erect  his  own  building  and  it 
was  decided  the  management  should  be  in 
the  hands  of  the  trustees  of  the  National 
Gallery.  The  foundations  were  laid  in  Sep- 
tember, 1893,  and  the  building  was  formally 
handed  over  to  the  government  and  declared 
open  by  the  Prince  of  Wales  on  the  twenty- 
first  of  July,  1897.  The  actual  opening  to 
the  public,  however,  took  place  a  few  weeks 
later. 

The  building  designed  by  Sidney  R.  J. 
Smith  is  described  by  him  as  being  "  in  a  free 
classic  style,  with  a  Greek  feeling  in  the 
mouldings  and  ornaments."  The  chief  fea- 
ture of  the  front  elevation  is  the  lofty  cen- 
tral portion  with  a  portico  of  six  Corinthian 
columns  with  pediment  and  at  the  extreme 
ends  of  the  portico  two  pavilions.  A  figure 
of  Britannia  surmounts  the  main  pediment, 
with  a  lion  and  unicorn  on  either  side.     The 


THE  TATE  GALLERY 

original  cost   of  the  building  was  £105,000 

and  in  1899  the  building  was  enlarged. 
Upon  the  base  of  one  of  the  columns  is  en- 
graved the  following:  "This  gallery  and 
sixty-five  pictures  were  presented  to  the  na- 
tion by  Henry  Tate  for  the  encouragement 
and  development  of  British  art  and  as  a 
thanks  offering  for  a  prosperous  business 
career  of  sixty  years." 

The  works  of  art  in  the  Tate  Gallery  are 
from  four  sources.  First,  Tate's  own  collec- 
tion so  judiciously  chosen  that  from  the  re- 
fusal of  sixty-six  offered  to  the  government 
sixty-one  pictures  were  accepted.  Later 
four  more  were  added  by  Tate,  making  his 
total  gift  sixty-five.  He  also  presented  a 
few  pieces  of  sculpture.  With  two  or  three 
exceptions  these  pictures  are  by  living  or 
recently  deceased  British  artists,  his  favour- 
ites being  Millais,  Hook,  Briton  Riviere, 
Orchardson,  and  Waterhouse,  these  five 
numbering  one-third  of  the  whole  Tate  col- 
lection.    Second,  the  Chantrey  collection,  the 


THE  TATE  GALLERY 

pictures  purchased  by  the  Royal  Academy 
under  the  terms  of  the  Chantrey  bequest. 
From  1877,  the  year  after  the  bequest  became 
operative,  the  council  of  the  Academy  has 
in  each  year  added  some  works  of  art  to  the 
collection.  By  the  terms  of  the  bequest  the 
annual  income  of  the  £90,000  estate  may 
not  accumulate  for  more  than  five  years  and 
the  pictures  purchased  shall  be  by  artists 
who  have  "  actually  resided  in  Great  Britain 
during  the  execution  and  completion "  of 
the  work.  There  are  over  sixty-two  artists 
represented  in  the  Chantrey  collection,  the 
average  cost  per  picture  being  £615.  Third, 
seventeen  pictures  by  G.  F.  Watts,  R.  A., 
presented  by  him  to  the  nation.  Fourth, 
pictures  loaned  from  the  National  Gallery, 
the  general  principle  being  that  the  works 
of  all  British  artists  born  later  than  1790 
are  transferred  to  the  Tate  Gallery.  Be- 
sides these  four  main  sources  there  have  been 
many  gifts  by  private  persons  following  the 
generous  action  of  Sir  Henry  Tate. 


TATE    GALLERY. 


INDEX   TO   ARTISTS. 


?AGE 

BONHEUR,   ROSA 

..        46 

BRAMLEY,  F.,  A.R.A. 

..        26 

BROWN,  FORD  MADOX 

21 

BURNE-JONES,Sir  E. 

••           7 

CALDERON,  P.  H.,  R.A. 

..     55 

CLAUSEN,  G.,  A.R.A.  .. 

..     61 

CROME,  JOHN 

..      54 

DAVIS,  H.  W.  B.,  R.A. 

..      29 

DYCE,  W.,   R.A. 

32,    52 

DYCKMANS,  J.  L. 

■■      5i 

EASTLAKE,  Sir  C.  L.,  P.R. 

A.      if, 

EGG,   A.  L.,  R.A. 

••      49 

ETTY,  W.,  R.A 

..      60 

FAED,  T.,  R.A 

••      3i 

HERKOMER,   H.  von,  R.A. 

12 

HUNTER,  COLIN,  A.R.A. 

..      28 

LANDSEER,  Sir  E. 

43.  44,  45 

62,  63 

LAWSON,  CECIL 

••      37 

LEIGHTON,  LORD,  P.R.A. 

6 

LESLIE,  C.  R.,  R.A.     .. 

..      42 

LEWIS,  J.  F.,  R.A. 

..      50 

LINNELL,  J 

..      18 

MACLISE,  D.,  R.A.   '    .  . 

..      48 

MacWHIRTER,  J.     R.A. 

••      13 

PAGE 

MASON,  G.  H.,  A.R.A.  ..     41 

MERRITT,  ANNA  LEA  . .     30 

MILLAIS,  Sir  J.  E.,  P.R.A. 

Frontispiece,  9,  22,  27,  39,  43 
MULLER,  W.   J.  ..  .'.19 

MULREADY.  W.,  R.A.  . .     59 


ORCHARDSON,  W.  Q.,   R.A.  20 

PARSONS,  ALFRED,  A.R.A. .  .  58 

••  57 

.  .  14 


j     PETTIE,  J.,  R.A. 
I     PHILLIP,  J.,  R.A. 

!     ROSSETTI,  D.  G. 


SADLER,  W.  DENDY.. 
SARGENT,  J.  S.,  R.A...  8 

STANFIELD,  W.    CLARKSON, 

R.A 

STONE,  MARCUS,  R.A. 
SWAN,  J.  M.,  R.A 


TURNER,  J.  M.  W.,  R.A.       40,  53 


WALKER,  F.,  A.R.A.  .. 
WALLIS,  HENRY 
WARD,  E.  M.,  R.A.  . . 
WATTS,  G.  F.,  O.M.,  R.A. 
WEBSTER,  T.,  R.A.  .. 
WHISTLER,  J.  McNEIL 
WYLLIE,  W.  L.,  R.A. 

YE  AMES,  W.  F.,  R.A... 


THE    BATH     OF    PSYCHE. 

LEIGHTON,     PR  A 


"  I.ik<  a  nymph  to  the  bath  addi 
Which  unveiled  the  depth  <>i  her  glowing  breast, 
Till,  fold  after  fold,  to  the  fainting  air 

lay  bare." 


KING    COPHETUA    AND    THE    BEGGAR    MAID. 

Sir   E.    Burne-Jones,   Bart. 


For  thou,'  quoth  he,  '  shall  be  my  wife, 
And  honoured  for  my  Queen.'  " 


ELLEN    TERRY   AS 
"  LADY    MACBETH." 

John  S.   Sargent,   R.A. 

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THE    KNIGHT-ERRANT. 


Sir  John   E.   Millais,    Bart.,    P.R.a. 


The  distressful  maiden  has  been  despitefully  used  by  robbers,  who  have 
been  dispersed  by  the  gallant  knight.  Some  of  them  can  be  seen  in  the 
right  distance.     This  is  the  only  nude  female  figure  painted  by  the  artist. 


BEATA   BEATRIX. 


Dante  Gabriel   Rossetti. 


dream  lovi  ol  Dant(  .     In   the  right  distance  is  Dante,  and 
<  h  looking  at  th<-  other.     A  bird, 
with  a  poppy  in  its  mouth     symbol  ol  di  ath     flies  into  the  lap  of  I  ■ 


CARNATION.    LILY,    LILY,    ROSE. 


John   S.   Sargent,    R.A. 


garden  or  lilies,  carnations,  and  roses,  the  two  children  illumine  the 
fading  day  with  the  light  of  gaily  coloured  Chinese  lanterns. 


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THE   PRISON   WINDOW. 


John   Phillip,   R.A. 


>t  human  nature  in  Spanish  costume.      "  Stone  walls  do  not 
a  prisoo  make"  lor  the  natural  affections  and  passions,  even  of  a 

'1  criminal. 


THE  SPIRIT  OF   CHRISTIANITY 


G.  F.  Watts,  O.M.,   R.A 
■ 


The    artist  dedicated    this    work    to    "  All  the  Churches." 

Under  the  ample  robes  of  Christianity  there  is  room  for  all 

the  children  of  the  world  to  dwell  in  peace  and  unity. 


ESCAPE    OF  THE  CARRARA    FAMILY    FROM    THE 

PURSUIT   OF  THE   DUKE   OF    MILAN,    1389.  Sir   C.    L.    Eastlake,    P.R.A. 


Francesco  Novello  di  Carrara,  last  Lord  of  Padua,  having  heard  of  the  Duke  of 

Milan's  intention   to   kill   him,  fled    across    the   mountains    to   Monaco.      His 

pursuers  are  in  sight  in  the  valley  below. 


16 


AMY   ROBSART. 


W.    F.   Yeames,    R.A. 


Married  to  Sir  Robert  Dudley,  Amy  Robsart  met  a  mysterious 
death  at  Cumnor  Hall,  near  Oxford.     She  was  found  dead  at  the 
foot   of   a   staircase.     The   incident    is   incorporated   in    Scott's 
"  Kenilworth." 


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IL-Y-EN    A   TOUJOUR^ 
UN    AUTRE. 


Mahcus  Stone.  R.  a. 


"A     Prior    Attachment,"     the    title    under 

which  this  picture    was    engraved,  at   once 

explains   the   despondency    of    the    present 

suitor. 


ECCE  ANCILLA   DOMINI."  Dante  Gabriel   Rossetti. 


The  Annunciation.    After  the  Angel  Gabriel  had  delivered 

his  message,  Mary  replied,  "  Behold  the  handmaid  of  the 

Lord  ;  be  it  unto  me  according  to  thy  word  !  " 


rra 


LOVE    LOCKED    OUT. 


Anna  Lea  Merhitt. 


Love  vainly  knocks  for  admittance  at  the  door  of  Gold. 

The  lock  is  effectually  turned  against  him.  All  delights 

-    typified  by  the  scattered  roses   -hive  been  discarded 

by  the  owner  of  this  gold-gated  heart. 


30 


THE  SILKEN   GOWN. 


Thomas  Faed,  R.A. 


"And  ye  sail  walk  in  silk  attire 
And  siller  ha'e  to  spare, 
Gin  vi  n  consent  to  be  his  bride, 
Nor  ilunk  <ii  I  ton  aid  mair." 


"Oh  !  wha  would  buy  a  silken  gown, 
Wi'  a  puir  broken  heart  ? 
( )r  what's  to  me  a  sill<  r  crown, 
Gin  frae  my  love  I  part  ?  " 


31 


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UNCLE   TOBY    AND    WIDOW   W/»DMAN 
IN    THE   SENTRY    BOX. 


C.    R.    Leslie,    R  A. 


"  'I  protest,  madam,'  said  my  Uncle  Toby,  'I  can  see  nothing 
whatever  in  your  eye.'  'It  is  not  in  th<-  white,'  said  Mrs.  Wadman. 
My  Uncle  Toby  iooked  with  might  and  main  into  the  pupil." 
—  Trktram  Shandy 


AN    EQUESTRIAN    PORTRAIT. 

Sir   E.   Landseer,   R.A.  and  Sir  J.    E.   Millais,    Bart.,  PR. A. 


Commenced  by  Landseer  as  a  portrait  of  Queen  Victoria :  he  only  painted 

the   horse  and   the   background.      Millais    completed    it,  and    called    it 

'  Nell  Gwyn." 


43 


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THE   COURTYARD    OF   THE 

COPTIC    PATRIARCHS    HOUSE    IN   CAIRO. 


J.   F.   Lewis,   R.A 


A  characteristic  Orient.: 


•pt  that  the  female  figures  are  not  veiled; 


the  house  is  tli.it  <>t  a  Christian. 


50 


THE    BLIND    BEGGAR. 


J.   L.   Dyckmans. 


Painted    at   Antwerp   in    1858,  in  which  city  the  artist   was   born,  lived, 
and  worked. 


ss 


56 


5* 


"YOUTH    ON    THE    PROW,    AND 
PLEASURE   AT   THE    HELM." 


William   Etty,   R.A. 


An  illustration  of  Gray's  lines  in  "  The  Bard  " — 

"  The  giddy  occupants  of  the  gilded  vessel  go  on  their  way 
Unmindful  of  the  sweeping  whirlwind's  sway, 
That,  hushed  in  grim  repose,  expects  his  evening  prey." 

60 


THE  GIRL  AT  THE  GATE. 


George  Clausen,  A.R.A. 


Merely  a  peasant  girl  in  form  and  surroundings,  but  with  an  expression 
suggestive  of  unutterable  yearnings  after  some  great  "  ideal." 


Sir   Edwin   Landsier,   R  A 


ound     pampered,  favoured,  fortunate 


LOW   LIFE. 


Sir   Edwin   LandSEer,   R.A, 


A  common  tvpe  of  bull-dog,  whose  surroundings  complete  the  contrast 
to  the  subject  of  the  companion  picture. 


OLD    BATTERSEA    BRIDGE. 


J    McNeil  Whistler. 


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The  "Id  wooden  bridge  which  oxisted  until  1800. 


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